“Recommencer. Commencer de nouveau la peinture” (Starting Again: Starting the Painting Again) surveyed the career of French painter Gérard Gasiorowski (1930–1986), who began his career as a successful Photorealist in the mid-1960s and then rebelled, violently, and spent the following two decades producing abstract paintings, naive acrylic sketches, syrupy kitsch, and modest painted objects. In the atrium, where the exhibition began, curators Frédéric Bonnet and Éric Mangion introduced their strategy, an achronological presentation of the work that sought to patch through alternative narratives for the painter’s fraught relationship with the medium. Three large paintings faced off to brilliant effect: a Twombly-esque iconographic index, Opem Ibri Gabé Gabé, 1983; a splendidly sinister Photorealist image of a man in sock garters and cowboy boots catching a ball before an audience of